At the intersection of trauma, precarity, and African cinema: A reflection on Mahamat-Saleh Haroun’s grigris

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

In order to test the limits and possibilities of trauma theory’s applicability to films by African directors, and also to examine how trauma, woundedness, and precarity are projected in film, this chapter contemplates trauma, woundedness, and precarity in Mahamat-Saleh Haroun’s 2013 film Grigris. It starts with the premise that when blows to the body and the psyche are insidious, and when security and health must be purchased at an overwhelming price, trauma is not a reliving of a prior, shattering event as if it is occurring in the present, but a continuous puncture, an entrapment in a genre marked by the anticipation of future blows. Possibilities for escape, in this film, are imagined through poetic, somatic interludes. Traumatic looping is encoded in the eponymous Grigris’s body, and then transformed through dance.

Original languageEnglish (US)
Title of host publicationA Companion to African Cinema
Publisherwiley
Pages91-111
Number of pages21
ISBN (Electronic)9781119100577
ISBN (Print)9781119100317
DOIs
StatePublished - Jan 1 2018

All Science Journal Classification (ASJC) codes

  • Arts and Humanities(all)

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